Jean Luc Tartarin borrows images from the history of photography, which he reproduces in a file he calls “premier”, from which he can experiment with different interventions until he achieves the work he deems to be the best.
When he takes an old silver photograph, once scanned, it becomes like a negative. The raw file, of a particular nature, enables Jean Luc Tartarin to undertake the work of constructing a new image in a kind of digital alchemy. After this long process of invention, combining pleasure and struggle with virtual matter, the final file is embodied in the materiality of a print on chromogenic paper. The book is organized around three main iconographic themes: figures, flowers and forests. Forests have always been an important subject in the artist’s photographic research, which he has been pursuing for over fifty years.
Jean Luc Tartarin borrows images from the history of photography, which he reproduces in a file he calls “premier”, from which he can experiment with different interventions until he achieves the work he deems to be the best.When he takes an old silver photograph, once scanned, it becomes like a negative. The raw file, of a particular nature, enables Je(...)